Description

Set 1:
d1t01 - Tuning
d1t02 - Cold Rain And Snow
d1t03 - C C Rider
d1t04 - Dire Wolf
d1t05 - Me And My Uncle ->
d1t06 - Big River
d1t07 - Brown Eyed Women
d1t08 - New Minglewood Blues
d1t09 - Friend Of The Devil
d1t10 - Looks Like Rain
d1t11 - Alabama Getaway ->
d1t12 - The Promised Land

Set 2:
d2t01 - Tuning
d2t02 - Uncle John's Band ->
d2t03 - Estimated Prophet ->
d2t04 - Caution Jam ->
d2t05 - He's Gone ->
d2t06 - The Other One ->
d2t07 - Drums ->
d3t01 - Space ->
d3t02 - Not Fade Away ->
d3t03 - Brokedown Palace ->
d3t04 - Around And Around ->
d3t05 - Johnny B. Goode

Encore:
d3t06 - Shakedown Street ->
d3t07 - Uncle John's Band

Soundcheck:
d3t08 - Wharf Rat
d3t09 - Brokedown Palace
d3t10 - Black Throated Wind
d3t11 - Minglewood Blues

Individual Files

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Reviewer: happy2balive - - December 26, 2011
Subject: Best of 79
I was at this run of shows 12/26-12/31. Up front close and personal for the first night. This show was on fire from the first note to the last. This recording is fine and I appreciate being able to listen to it 32 years later, even though it's a Dick's Pick, as some copies of those are not available on this site.

Highlights of the show are subjective: One of the best Alabama Getaway>Promised Lands, Fantastic, possible best ever Estimated, and the Shakedown back into Uncle John's is a perfect ending to the show. Brokedown Palace hadn't been played in sometime, and following a extended jam in Not Fade Away was SWEET!

Enjoy the music...looking forward to FURTHUR in a few nights!

Reviewer: clementinescaboose - - September 8, 2010
Subject: better than the 28th
this is a pretty good sounding audience recording. its nowhere near as good as say 8/6/71 or 10/14/83 (then again, few are) with the instruments not being very up front in the mix, but i'm also much more familiar with the DP version of this.

despite being a bit sloppy in execution, the jamming in this show during the 2nd set is great and defiantly makes up for it. it's certainly far more entertaining than that of 12/28/79, which has plenty of off playing and boring jams besides. i like that this recording lists the jam after estimated as a 'caution jam' b/c it is not listed on the dicks pick and i distinctly hear phil's bass twinges stinkin' of that one...

Reviewer: Mark Scalise - - June 29, 2010
Subject: searching for the sound
This show also premiered the first of the great Meyer/UltraSound PAs. Excerpt from http://mixonline.com/live/applications/audio_necessity_mothers_invention/

As it turned out, for the grand experimenters, even the best rental systems didn't suffice. For the Dead's 1979 New Years Eve show at Oakland Auditorium, Healy and Starship soundman Don Pearson pooled their favorite components. The resulting five-way stereo system took days to assemble. Among other features, it had specially welded frames that held giant tweeter arrays. Horseshoe magnets served as air-motion [ribbon] transformers that were assembled in long vertical arrays and hung from scaffolding. Pearson says, “We built custom crossovers so we could align the individual components in time. It was, actually, the first-ever Time-Aligned™ live sound system.” [Eds. note: Time-Aligned™ is a trademark of E.M. Long and Associates.] It was also, according to Healy, such a great-sounding system that “we decided to get back into the business.”

“It was probably the best-sounding P.A. we ever did — to date!” adds Pearson. “It's interesting to note that back then we were working on a technology design that just now is becoming very in vogue. We're currently seeing the advent of ribbon speakers, something we were using in 1978!”

The system put together that night evolved into a company owned by Pearson and Howard Danchik that serviced both the Dead and Starship. In 1979, Meyer's newly patented ACD studio monitors caught the ears of Starship and their monitor mixer, Owsley Stanley; the reaction was immediate. “Owsley went out and raised capital for us to build the first Ultra Monitors for Starship,” says Pearson. “They were John Meyer's first official product. Then we built Starship a P.A. and then the Dead had to have one.”

Reviewer: Urobourus - - March 26, 2010
Subject: WOW!!!!!
I was at this show and it is still one of my most favorite shows. I have read many differing views about the Dead written on this site. Through the late 70's and late 80's Jerry had his issues, and he fought his demons,sometimes he won, sometimes he lost, but one thing still stands true about the Dead, no matter how many times Jerry forgot the words, Bobby missed his cues, when you caught that magical show,like I did with this one there was no better show anywhere in the world. One thing that always has to be remembered about the Dead, They are not the best at what they did, they were the only ones that did what they did. Me, I am Grateful I got to see them when I did, but I am equally Grateful to have a site like this.

Reviewer: utopian - - March 9, 2010
Subject: Required
And he said, 'ye must go forth and listen'

Reviewer: monkey99 - - April 1, 2009
Subject: Holy Latin American Domino Theory, Batman!
I can't believe there are no reviews on this show (well, there's one now). The names Joani Walker and Charlie Miller should give notice that this is something above the ordinary, and it is. Joani's AUD is typically outstanding.

Some AUDs make you feel like you're at a show, it's true -- albeit as if you were "there" behind a closed door...backstage. Not here.

Most people know this show well from DP#5, so I won't say too much about the performance, except that the band is really on and tight. Jerry's singing is magnificent -- just listen to Dire Wolf. The sound on DP#5 is great, but so is this. Do yourself a favor and give this a listen.

Notes

Patch Info:
SBD -> Master Reel -> Dat -> CD supplies:
He's Gone (10:08 - 10:20)

Nakamichi 700 -> Cassette Master -> Dat -> CD (shnid=16092) supplies:
Space (1:08 - 1:23)

Sony Mics -> Cassette Master -> ? -> CD -> Samplitude supplies:
Complete Soundcheck

Notes:
-- Set 2 is seamless
-- Recorded By Joani Walker
-- Soundcheck recorded by David Gans
-- Thanks to Joani Walker and Paul Scotton for the tapes